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- 2018
Traditional church chants for the lessons of Job for the deceased from Klis, Solin, Vranjic, Mravince and Ku?ine – transcriptions and comparative analysisKeywords: Klis, Solin, Vranjic, Mravince, Ku?ine, Glagolitic chants, Job, sung lessons, funeral, Mass, Divine Office Abstract: Sa?etak In the paper, the author deals with the traditional monophonic soloist chants, the socalled Job's sung lessons (Jobova ?tenja) from the former Divine Office for the deceased (Prosti mi, Gospode – Forgive me, oh Lord; Job 7, 16-21) of Klis (Parish of the Assumption of the Blessed Virgin Mary), Solin (Parish of Our Lady of the Islet), Vranjic (Parish of St. Martin the Bishop), Mravince (Parish of St. John the Baptist) and Ku?ine (Parish of the Immaculate Conception of Mary). Presented and analysed are six units, five basic and one additional – comparative, of which three are still in daily liturgical practice, in funeral masses (in Klis, Mravince and Ku?ine), whereas the remaining three (from Solin and Vranjic) are sung no more, but some singers still remember them well and can sing them. The existing sung lessons (as it was in the past as well) over many years have been performed by certain singers as agreed upon among themselves. These are the most gifted of them who normally sing as members of the well known ?traditional church singer groups? and/or (lately established) mixed parish choirs. This is also a proof of the continuity of music tradition of the Glagolitic roots, still preserved in the above stated places in the vicinities of Split. Two chants were recorded by Ljubo Stipi?i? (1986 and 1996), and four by the author of this paper (2013, 2016, 2017 and 2018). These recordings enabled further transcriptions and analyses. Comparative analyses of the said sung lessons show them to be mutually related, indicating a possible common ancient (presently unknown) melodic primordial source. Yet, in the performing singers minds, each of the chants is firmly and fermanently related to the long time (several centuries long) tradition of liturgical singing of their places, wherefore it is possible that none of the analysed chants can be deemed ?more genuine? than another one
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